a.k.a. Becky Stabber f.k.a. Jizz Taco
info@michielterpelle.nl
@jtakajizztaco
Becky Stabber f.k.a. Jizz Taco is a drag queen, artistic researcher, writer and typographer in residence at Jan van Eyck Academy where she developed the Queer Collective Workers' Union together with Noam Youngrak Son.
She uses drag as method, not subject—queerness as lived code, not case study. Publishing becomes ritual. Typography becomes spellwork. She prints what slips through. She archives what refuses. Her work is messy, performative, horny, and healing. It’s about memory, survival, and pleasure. It’s about making shit public before it disappears.
For Libraries Are Not Supposed To Be Quiet for Al Shaheen baby Falcon
Amsterdam Fashion Week 2025 for The Patchwork Family
Essay: How To Undress a Fatty for PRIDE: RADION invites De Reünie × Patchwork Family
Drag Workshops during the JvE Residency
For Flesh behind the curtain by Youngjoo Cho
Paris Fashion Week 2025 for The Patchwork Family
Amsterdam Fashion Week 2024 for The Patchwork Family
At A Family Affair for The Patchwork Family
More Becky Stabber f.k.a. Jizz Taco can be found here:
Creative Industries Fund NL’s Talent Platform
Wim Crouwel Instituut’s ‘It’s All Graphic’
Werkplaats Typografie (click if you like fonts)
The Patchwork Family’s ‘The Eternal Calendar’
The Queer Collective Workers’ Union (2025–now)
The QQWU was formed by Becky Stabber and Noam Youngrak Son. By organizing as a union, they reframe collective operation through the lens of labor. This exposes how the representation of queer collectivity, and the precarious labor of members, has been extracted for accumulation of symbolic capital, which within collectives, some have refused to share.
Unnatural Acts (2025–now)
Unnatural Acts is an ongoing series of experiments where Becky Stabber explores AI through a queer lens—questioning, celebrating, and unsettling its role in art, authorship, identity, and power. What does it mean to create with a machine when your very way of being has already been called artificial? What happens when queerness, often seen as a deviation from the “natural,” meets a technology built to replicate and generate?
Further experiments will continue to tangle with memory, authorship, fantasy, and control. Let’s get a little unnatural.
Experiment 1 & 2:
Essay: LGBTQ+AI Realness
Experiment 3:
Book: Queer Memory Archive (tba)
Experiment 4:
Complaints Bureau for AI Discrimination
Printed Matter
Transcripts of the Conversations at the Table of Context is a collaborative research project by graphic designers Doğa Gönüllü and Michiel Terpelle, recording and documenting a podcast on graphic design practices and education through library books, involving students, alumni and teachers from Graphic Design Arnhem
Queer Futures Trading with Bebe Books for Situated Institutions, Relational Practices, Liminal Studios
The Anti-Imperialist Queer Manifesto for Kenza Badi
Khanees Al 3issam خنيس العصام for Sarjon Azouz
Poster for the Forms of (ex-)Change exhibition at Nieuwe Instituut
On the Contrary Rethinking Engaged Art in an Age of Social Unrest for ArtEZ Press
Navigating Music Technology for ArtEZ Press
The Entanglement of Theory and Practices in the Arts for ArtEZ Press
Our life is full of sunshine for Cato Van Rijckeghem
The Typoscene™ (now–tba)
The Typoscene Archive is like a digital museum and typographic time capsule preserving the chaotic brilliance of early amateur font design, where creativity thrived before corporate consolidation.
It is whispered in certain circles, by those who trade in lost ligatures and forgotten glyphs, that the Typocene never truly ended, that its excesses persist in the hushed corners of the digital archive, beyond the reach of the Fontopoly’s catalogues. Others claim that it was never more than an illusion, a brief hallucination born of abundance, dissolving as the typographers awoke to the cold arithmetic of subscription models and licensing fees. Perhaps the Typocene is neither past nor present, but an endless recurrence, an anomaly inscribed in the fabric of design itself—an event that must always happen, must always be erased, and must always return in new forms. And if the free font was an aberration, a momentary glitch in the grand machinery of type, then who is to say that even now, in the regulated silence of the Fontopoly, some renegade letterforms are not waiting, latent in their obscure directories, for the precise moment to emerge again?
The Queer Agenda (2023–now)
Queer temporality is not linear;
it folds, loops, and decays
The Queer Agenda is a performative calendar that sells time as fantasy. Priced by the day, it transforms time into money, and money into meaning. Each page is an act—ads, essays, events, and images—all documenting drag as survival, pleasure, and resistance. Born from the C.A.R.E archive, it asks: what can drag do when it sells not the body, but the days?
Fictions for Storytelling Night, Marres × Limestone
Queer Movie List is an excel sheet with (over) 365 queer themed movies.
Workshops
Project Projections
The reproduction facility uses a projector to trace critical narratives onto various surfaces, enabling quick and precise creation of protest signs, t-shirts, wall drawings, and more. This process empowers individuals to reproduce impactful visuals for activism and art with ease and adaptability.
I Gave 40 Graphic Designer Students One Copy Machine to Make a Typeface for Sint Lucas Antwerpen
Deadname font
Deadname font
My pro-LGBTQ+ ex Zac is VJ-hunk (2020)
My pangrams repurpose a typographic exercise into a queer-coded archive—where cryptic slang, digital tools, and drag personas collide to expose the biases behind 'neutral' design.
